PRINT November 1992


Jack Bankowsky

Demon-possessed and spewing indecencies, Sue Williams has arrived spitting and foaming in the art-world spotlight. Indeed, Williams loads her canvases with brutish doodles and slogans until their scrubbed and smeared surfaces read like a virtual catalogue of crimes against her sex.

Dan Cameron looks in on this one-woman heart of darkness and discovers a feminism that works the very belly of the beast. Williams has perfect pitch when it comes to the dictions of abuse, of both the overt and the more insidious sort. She knows that oppression can come dressed as common sense—its impositions managed like intransigent orders, rather than the mutable codes they are—and her tactical response is no-holds-barred guerrilla. The paintings that result won’t go down any easier with antiporn feminists like Catharine MacKinnon than with Jesse Helms.

Johns Hopkins University professor Judith Butler is as

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